Teardrop-shaped Kpellie Mask

Teardrop-shaped Kpellie Mask

Senufo Culture

Senufo Kpellie masks are made and used by Poro societies, the Senufo’s secret men’s associations, which function as central social institutions that connect lineages, guard against social fragmentation, and educate and socialize male youths. Because these associations are secret, what the Kpellie mask represents is not fully known; however, the mask likely represents both an ideal woman, known as the Beautiful Lady, and the highest Senufo ancestral spirit, known as the Ancient Mother. As part of a matrilineal culture, the members of the Poro society look to the Ancient Mother for sanctification and validation of all Poro activities. The Kpellie mask illustrates an ideal of beauty in abstracted form. Features that embody beauty for the Senufo include the large forehead; the deep, arching brow; the narrow, straight nose; and the mouth held open to expose teeth. The arm-like forms, leg-like forms, and geometric shapes protruding from the sides of the mask symbolize the ornate hairstyles worn by Senufo women. Also indicating status are complex, incised patterns on the face, which represent the facial scarifications of a mature young adult. Another common feature is a bird form at the top of the mask, which represents the hornbill, a bird associated with fertility and supernatural female power. Horn-like extensions at the top of the mask, when present, also represent female power. When used in Poro ritual, the Kpellie masks represent the female aspects of life. The masks most often appear during funeral rites and masquerades, where the masker incorporates exaggerated female gestures. The masks are much feared and respected by the higher-level members of the Poro society, as well as by the members of the Sandogo society, the Senufo’s secret women’s society.

Research by Jason Torgerson, 2005, Missouri State University Student. Mentor: Dr. Billie Follensbee

20th

38.5 cm. h. x 19 cm. w. x 8 cm. d.

Sculpture

Wood

Carving

Gift of Mr. and Mrs. Harold Stoneman

1985.13A

1985

20150036